Before that record start, the voice of\u00a0Fosforito\u00a0<\/em>it was registered for the first time in history – along with that of its countrymen\u00a0Seco\u00a0<\/em>father and son,\u00a0Juan Hierro\u00a0<\/em>,\u00a0Antonio Illanes, Antonio Velasco, Manuel Herrador\u00a0<\/em>and the neighbor of province\u00a0Ni\u00f1o de Castro\u00a0<\/em>– in a formidable adaptation,\u00a0The Passion according to Saint Matthew in Saetas,\u00a0<\/em>what would the unparalleled\u00a0Francisco Moyano\u00a0<\/em>. Live recording with “unofficial” character and very unknown outside Puente Genil.<\/p>\n This work was collected by the\u00a0RNE microphones,\u00a0<\/em>and from the hand of the exalted\u00a0Mat\u00edas Prats\u00a0<\/em>(Villa del R\u00edo, 1913 – Madrid, 2004), who acted as narrator, in the spring of 1954 the Spanish homes were flooded by the most representative sounds and cantes of the pontanesa Holy Week. This sound document has become an authentic jewel of our culture, transcending the local scope due to the category of the interpreters (\u00a0Juan Hierro\u00a0<\/em>makes an entire exhibition), to the time when the beauty of the composition was already recorded. It also serves as an essential document for the study of the evolution of the genuine and indigenous old bridge of Puente Genil,\u00a0the barracks\u00a0<\/em>. The “work” was happily edited by\u00a0Agust\u00edn Moyano,\u00a0<\/em>son of\u00a0Francisco,\u00a0<\/em>in 2009 for the Confraternity of Mar\u00eda Sant\u00edsima de las Angustias, with a magnificent sound quality.<\/p>\n Between these two works is the little-known LP produced by the Bengali\u00a0Deben Bhattacharya\u00a0<\/em>(1921-2001). This anthropologist, photographer, producer, ethnomusicologist, etc., assisted by Unesco, left an interesting field work in terms of recordings of “the music of the world”, which he developed throughout his life in about 130 albums. The LP\u00a0PORTRAIT OF ANDALUSIA\u00a0<\/em>, within the series\u00a0“The Living Tradition”\u00a0<\/em>, was published in London at 1968 under the British seal\u00a0ARGO.\u00a0<\/em><\/p>\n Bhattacharya\u00a0<\/em>, with recording devices at the ready-semi-portable and of 35 kg- and thanks to the poet\u00a0Ricardo Molina\u00a0<\/em>, recorded in Puente Genil the audios of that LP at the end of March and the beginning of April of 1956. The work has no waste and is a real gem for Puente Genil, which has been recorded the sound track of some extraordinary years, in which Easter and flamenco were in full boil in the land of quince. We also discovered the young Antonio Fern\u00e1ndez D\u00edaz, just a few weeks before the famous contest in C\u00f3rdoba, where he already exhibits his personality and imprint when it comes to mountain, sole\u00e1, alegr\u00edas and canti\u00f1as. There is also a sole\u00e1 of the very young\u00a0Juli C\u00f3rdoba\u00a0<\/em>, that by those years was a habitual saetero of the Brotherhood of Jesus Nazareno. Finally, we can not fail to review the imposing Sole\u00e1 Apol\u00e1 that gives us\u00a0Jos\u00e9 Bedmar “El Seco”\u00a0<\/em>(Puente Genil, 1880-1970), sing directly from\u00a0Dieguito Mor\u00f3n “El Tenazas”\u00a0<\/em>(Mor\u00f3n de la Frontera, 1852 – Puente Genil, 1933), the one that put flags in the Granada Contest of 1922. For another occasion, just for the sake of talking about cante, we will deal with these soleares and the possible branches that Silverio and his “disciples” could give more than probable soleares.<\/p>\n When it was published in London twelve years later, discs that arrive in Spain could be counted with droppers, so for many years this work remained in the shadow passing almost unnoticed. In any case, it escapes all logic that\u00a0Deben Bhattacharya\u00a0<\/em>just record the cuts that appear in the aforementioned LP. From the hand of\u00a0Jos\u00e9 Manuel Gamboa\u00a0<\/em>(Madrid, 1959) we learned from his book\u00a0“A history of flamenco”\u00a0<\/em>(Espasa, 2005), which had been released a title CD\u00a0Zingari. Route of the gypsies\u00a0<\/em>in which a seguiriya of\u00a0Fosforito appears\u00a0<\/em>that was practically unknown by all, and two arrows of\u00a0Juli C\u00f3rdoba\u00a0<\/em>that we did not know either, and that as we said were recorded in Puente Genil in 1956. This teacher’s seguiriya, we include it in the work\u00a0Puente Genil, land of\u00a0<\/em>cante, that\u00a0La Droguer\u00eda Music\u00a0<\/em>produced in 2016 for the town hall of Puente Genil, within the celebration of the 50th anniversary of the\u00a0Festival of Cante Grande “Fosforito\u00a0<\/em>”<\/p>\n As we further researched Bhattacharya, our source for those \u201cunheard-of\u201d\u00a0cantes<\/i>, we must confess that it\u2019s hard to have access to a clear and specific classification of his work, as we came across publications with different discographies in the USA and different European countries, with some tracks appearing in multiple albums from different years, and with very little information about them, if at all, resulting in a big jumble, on top of re-editions in CDs which don\u2019t offer much information, either. All the sources we\u2019ve researched hardly match at all, regarding the classification of this Indian musicologist.<\/p>\n We believe that the book-album\u00a0The Gypsies: Pictures and Music From East and West<\/i>\u00a0(1966) was the first to feature such seguiriya, besides other \u201cunheard-of\u201d\u00a0cantes<\/i>, like a\u00a0malague\u00f1a del Mellizo<\/i>\u00a0and one\u00a0sole\u00e1<\/i>\u00a0which is different than the one featured in\u00a0Portrait of Andalusia<\/i>. It goes without saying that for us this was quite a find (which we don\u2019t claim having made ourselves) and it\u2019s a luxury to be able to enjoy of two additional\u00a0cantes<\/i>\u00a0by this artist who a few years later would start one of the most brilliant careers in flamenco. As we mentioned in the previous paragraph, some of these\u00a0cantes<\/i>\u00a0and some from\u00a0Portrait of Andalusia<\/i>\u00a0show up in other albums under a different label and some re-editing.<\/p>\n To finalize, for the moment, the list of \u201cunheard-of\u201d recordings, we must write about the book-album\u00a0La Semaine Sainte en Andalousie<\/i>, edited in Paris in 1960 by\u00a0Seghers<\/i>, first mentioned to us by the tireless aficionado Leonardo Velasco. It\u2019s quite a treasure when it comes to its audio-visual content. On Side A we have what it seems like a series of\u00a0saetas<\/i>\u00a0recorded on the street, until we realize that the background noises were added later. We got a big surprise when we found an unknown\u00a0saeta<\/i>\u00a0by\u00a0Juan Garc\u00eda \u201cNi\u00f1o Hierro\u201d<\/i>, and another by\u00a0Fosforito<\/i>, which we wanted to write about. On Side B we have a wonderful seguiriya, also \u201cunheard-of\u201d, sung by\u00a0Juan Hierro<\/i>, and\u00a0fandangos de Lucena<\/i>\u00a0sung by\u00a0Jos\u00e9 Bedmar \u201cEl Seco\u201d<\/i>, which were used in the album\u00a0Cantaores de C\u00f3rdoba<\/i>, edited by\u00a0Caja Provincial de Ahorros de C\u00f3rdoba<\/i>\u00a0in 1989, under the direction of the late\u00a0Agust\u00edn G\u00f3mez<\/i>.<\/p>\n Summarizing, we have four new\u00a0cantes<\/i>\u00a0by\u00a0Fosforito<\/i>\u00a0which the vast majority of aficionados never heard before (sole\u00e1, saeta, malague\u00f1a del Mellizo<\/i>\u00a0and\u00a0seguiriya<\/i>), besides the four\u00a0cantes<\/i>\u00a0from\u00a0Portrait of Andalusia<\/i>(serrana, canti\u00f1as, sole\u00e1<\/i>\u00a0and\u00a0alegr\u00edas<\/i>). Considering that we didn\u2019t have access to all of\u00a0Bhattacharya<\/i>recordings, we may in the future come across new \u201cunheard-of\u201d\u00a0cantes<\/i>\u00a0from those 1956 recordings.\u00a0El Seco, Juan Hierro<\/i>\u00a0and\u00a0Fosforito<\/i>\u00a0himself may well have a nice surprise in store for us.<\/p>\n We would have liked to offer a contextualization of 1950s flamenco in general, and Puente Genil\u2019s in particular, besides talking about the life of\u00a0Fosforito<\/i>\u00a0at the time of those recordings, to be able to give our readers a better sense of the times, but we think we\u2019ve already abused the space granted to us by ExpoFlamenco and we shall not overextend this text.<\/p>\n As I finish this article, I can\u2019t hide the fact that I dream about having a compilation and re-edition of\u00a0Fosforito<\/i>\u2019s complete recordings. Although the politicians may think that the favorite pastime of flamenco people is to complain about them, and they believe that behind every citizen there is a member of the opposite party conspiring to remove them from power, beyond their parallel reality there is the whole flamenco family, who between aficionados and professionals add color and content to the most representative cultural expression in our country. We can see that these politicians are bothered by us, little people, demanding good management and a real commitment to our culture, besides coherence with their own policies. Yet, how can the Junta de Andaluc\u00eda award this master from Puente Genil the famed\u00a0Golden Key of Cante<\/i>, and then turn its back on his legacy? It\u2019s not that we mean to give this award more importance than it deserves, but it\u2019s infuriating that they\u2019re not even attempting to rescue his discography, as it was done with Antonio Mairena and Ni\u00f1a de los Peines. They may be waiting for some private company to do this, yet they were the ones who gave the award and then took all the pictures, right? So, it\u2019s time that they do something about this, because this is a matter of cultural interest. Can anyone understand this?<\/p>\n Apparently, the project of re-editing\u00a0Fosforito<\/i>\u2019s complete recordings is currently in some box at an office of the Junta, and it doesn\u2019t look like anyone cares about getting this done. Aren\u2019t they ashamed about themselves for wasting precious time, as\u00a0Fosforito<\/i>\u00a0is still with us and could be an advisor for this project? Is it necessary explaining to them that a work of analysis and dissection of that work is pending in order to fully understand and calculate this master\u2019s contribution to flamenco? Just imagine the book which could come out of this project, where the protagonist himself might include further details and anecdotes about each recording, explaining the source and origins of\u00a0cantes<\/i>, etc.<\/p>\n There seems to be a problem in gathering\u00a0Fosforito<\/i>\u2019s complete works, regarding the copyrights of each recordings. Well, as far as we know, the thick of the recordings belong to the labels\u00a0Universal<\/i>\u00a0and\u00a0Divucsa<\/i>, which possess the rights (with their corresponding subsidiaries), of the old labels\u00a0Philips<\/i>\u00a0and\u00a0Belter<\/i>, respectively, besides some recordings which may belong to Sony (inherited from RCA) and others such as\u00a0Warner<\/i>, via\u00a0Hispavox<\/i>. Despite of the particular interests of each record label, it\u2019s perhaps the cultural department of the Junta which, guided by the artists himself, would be better suited to negotiate with all parts involved, more so if the initiative is taken by a neutral party, from an entrepreneurial perspective. Yet, the prospects are not very encouraging, as it looks like the government of Andalusia never created an agency to look after flamenco heritage and that the ball is in everyone’s court except in theirs.<\/p>\n Miguel \u00c1ngel Jim\u00e9nez Valverde<\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":" No, new songs are not, but they are unknown to the vast majority of the fans.<\/p>\n","protected":false},"author":4,"featured_media":7908,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[188],"tags":[],"class_list":["post-7907","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-research"],"yoast_head":"\n![\"\"](\"https:\/\/www.expoflamenco.com\/archivo\/wp-content\/uploads\/2015\/11\/propaganda_1.jpg\")
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